
Justin Ponmany, Query, 2009, acrylic and hologram on canvas, 75 x 128"
He is known for his series on expanded portraits.
Ponmany creates multi dimensional portraits converging the macro with the micro. For the artist, the person and his world are captured within the same frame. “The idea is to explore how to co-wire a human being’s individuality and the world around him within the same frame,” says the artist. The mechanism and plasticity of urban living is projected on its people using sophisticated technique of distortion. As a result, the portraits acquire a three dimensionality which is specific to cartography, thereby attributing a free floating identity that is interchangeable and anonymous. His portrait reminds one of fingerprinting retinal scans, police mug shots, and a host of techniques used to carry out surveillance.

Justin Ponmany, 1-b Indraneel bldg, rdp 1/38, sector 2, Charkop, 2007, c-print, 55 1/4 x 109"

Justin Ponmany, Kolkani Baugh, room no 2, 2007, Salma Manzil, Doodj Naka
Ponmany's works cover a huge oeuvre in terms of mediums.
Ponmany ‘s work ranges from a set of large scale individual portraits to graph paper drawings to diptych paintings. His practice exhibits a wide scale, with delicate drawings on laboratory graph paper where intersecting lines creates a range of patterns while large diptychs represent grids derived from these line drawings superimposed on the image of an open book.
He uses the phosphorescent pigment found in hologram stickers to create evanescent paintings that shift depending on the viewer’s position. He also uses plastic paints, industrial materials, and rich pigments. Many of his works have a photo-negative- like quality to them.

Justin Ponmany, Admit One (diptych), 2007, acrylic and holographic paint on canvas, 74.8 x 104"

Justin Ponmany, Untitled (set of 4), 2007, ink on graph paper, 11 x 18" (each)
He widely uses holographic pigment on canvas.
Although the artist experiments with various materials, his signature is a holographic pigment which he uses on canvas along with graphic production techniques. Thus, through such negotiations the spectator becomes a participant in the physical dialogue with the artwork. The pieces are reminiscent of scanners and cartography, but their morphing nature shows signs of abstract art.
Peter Nagy writes “Favoring low levels of illumination for his works, Ponmany presents paintings whose appearances oscillate with the viewer’s vantage point, the images they harbor sliding in and out of view, at one moment hot and the next moment cool, a para-chromaticism similar to that found on the skins of certain electrolytic aquatic species” (Peter Nagy, “Kaleidoscopic Synthesis”, Who's Keeping Score' at Bose Pacia, New York in 2007, p. 4).

Justin Ponmany, God Forbid (triptych), 2007, acrylic and holographic pigment on canvas, 75 x 52"
Justin Ponmany has a subjective approach to reality.

Justin Ponmany, Staple Agony II, 2006, acrylic and holographic pigment on canvas, 191 x 325 cm